Posts Tagged ‘performance’

Schofie on Acting?

In On Acting on August 13, 2014 at 3:17 pm

So…. Actors have been around since the beginning of time. Even if you credit them Greeks with the origins of what we might consider traditional acting – you’re talking 534 B.C. or earlier. Thousands of years. Millions upon millions of flesh-and-blood persons have taken up the mantel of performance between then and now. And now, in an age where performance related media and live performance is historically more  accessible than it has ever been, it seems everyone is an actor. If you don’t consider yourself an actor, you probably have at least done it once. If you never have, you may have considered it. If you never have considered it, you still can’t avoid how greatly your life is affected by actors. They’re in the shows you watch, the features you love, the plays you attend, and the commercials that drive you nuts. They’re on the side of the street waving signs to get your taxes done for free. They’re on the corner of 5th and Main in black-and-white mime attire. They’re in the museum bringing Hammurabi and Abe Lincoln to life.

So, if we have thousands of years of acting tradition, theory, and history – and so many of us are actors today, why are we all so confused about how to do it? If there is anything I have learned after academically studying theatre for the last 8 years, and actively performing in productions in a broad range of functions, it’s that no-body really knows what they are doing. Everybody has ideas, theories, and their own little comfortable method that works for them. Some are dogmatic, others pragmatic, some are systematic, while others are enthusiastic and spastic. And that is fun to say really fast, by the way.

It’s just that acting is such a hard thing to quantify. Traditionally, we can identify an actor. But that’s because we see him in his element. His venue. He’s in my Tv, he’s on the stage before me. He’s behind the glass at the museum exhibit. But what is it he does? How does he do it? You ask any two acting celebrities how it is they do what they do, it is likely they will have two completely different answers.

I am still working out my own thoughts on the matter. I have some strong opinions. I don’t know that I can claim that they are exclusively correct. But I do have my ideas – like anybody else.

This is hopefully the first in a series of thoughts on the craft – my thoughts, others thoughts, stolen and borrowed thoughts. Now that I am done with school, and I am actively performing in the real world, I am starting to actually read those dusty books I hastily skimmed during my Graduate work. So roll up your sleeves, actors, we’re about to get nerdy….










David Tennant in Hamlet in 2008.



1920475_10152073790794983_1207531938_n ~by j.d. schofield


Disney’s The Lion King: The Musical

In Play Reviews on August 23, 2013 at 6:16 pm

A Review


What happens when traditional African soul meets vibrant expressionistic dance midst a tale of power, deceit, love and a lot of Hakuna Matata? You get Disney’s The Lion King: The Broadway Musical. I recently saw this lively production on tour at the Belk Theater in Charlotte, NC where I was swept away to the pride lands and re-discovered a beloved childhood story in a bold, new light.


The Lion King is masterfully staged with eye-popping puppetry that makes you double take. (Where does the puppet begin and become the actor?!) Original director (and costume, mask and puppet designer) Julie Taymor, truly delivers with this production. You won’t be able to take your eyes off the stage – that is unless you turn to witness giraffes and elephants along with the star characters travel down the aisles.

Each actor is perfectly blended with his animal so that you believe he is the character he claims. Well done to the actors as well as the designers for this feat. Being a five foot bird is a hard thing to sell to an audience, but I never doubted Zazu (played by Andrew Gorell) for a moment.

The character development is explored more in this production than in the film, which allows for strong, relatable performances. Most characters were delivered flawlessly; however, there were a few moments where I felt the character connection was lost. This happened most often with the child actors but did not heavily impact the overall production. The adult versions of Simba and Nala (Jelani Remy and Nia Holloway) deliver powerful performances. Nala’s moving vocals and stage presence in “Shadowland” and Simba’s character development in “He Lives in You”(reprise) are strong numbers.

Vocally, Rafiki (played by Tshidi Manye), is the most powerful and soulful. She has incredible control over her voice and fluidly rang out lyrics (that are often in Zulu) yet the audience understands what she is saying through her spot on acting.

Lion King Tour

Somewhat ironically, the winning performance of this production is by the “loser” in the storyline. Scar (played by Patrick R. Brown) is the most solid throughout the show and seemed the most seasoned of the cast. He won the audience over from his very first moment on stage, without even saying a word, and continued to comically and satirically captivate the audience.

Other memorable performances are by Timon and Pumba (Nick Cordileone and Ben Lipitz) and Mufasa (L. Steven Taylor).

The music and lyrics (by Elton John and Tim Rice) contain the favorites from the film and add new and adapted numbers to create the ambiance of Africa as well as tell the story in a way that connects to a modern audience. The only song that seemed like a piece of the wrong puzzle was “Chow Down”. The number was filled with heavy guitar and drums that did not resemble the rest of the production.


With a touring production, the lighting often must be able to create the scene and mood without elaborate sets and The Lion King delivers. From sunrises to dark cavernous bone yards, the lighting is superb. It is amazing how each ray of light matches the costumes and set designs perfectly.

The overall feel of the production is tribal, moving and captivating as audiences journey into Africa and discover and rediscover the circle of life through The Lion King.

The production of Disney’s The Lion King: The Broadway Musical is on tour in the US through 2014. Get your tickets online for a theatre near you at

By Meagan Ingersoll DSC_0252

Dreams Of Sonya

In Play Reviews on May 7, 2013 at 1:09 pm

A Review


Dreams of Sonya, an original work by the gifted writer Micah Thompson, was performed as a two-woman show by Lindsay Morgan and Katrina Case at the Kroc Center, April 19th and 20th. First, I would like give a plot summary as simply as possible and then expound further on some of the nuances of the text. Then I will evaluate the theatrical elements and acting techniques involved in the production.

This play immediately causes the audience to think, to ask questions about what they are seeing and hearing. The audience is quickly introduced to pieces of the puzzle and has yet to understand how they fit. The audience meets Sonya, played by Lindsay, who is in a place called “nowhere.” She cannot remember how she got there and why she is there. The next character to come on stage is Ophelia, played by Katrina, who is confused and distraught over having lost her name. She challenges Sonya as she leaves with a statement that Sonya may know the “word” that is her name, but she has yet to know the very parts that make up that name or what it means. The next character we meet is Smee from Peter Pan also played by Katrina. He tells Sonya of the importance of the story, the story of who we are. Next the audience is introduced to Katrina’s third character, Serena. She is here to help Sonya, to bring her back to who she was before, although neither of them have a full grasp on who she was. The audience can clearly see Sonya’s progression towards her own insanity. Sonya begins to tell Serena a story. Suddenly Serena finds herself in the midst of confusion by somehow being jolted into the mind of Sonya. She encounters three people played by Lindsay: an old woman from Tennessee, an insane woman who has no name, no feelings, and no direction, and Hamlet. It is through her conversation with Hamlet that she realizes what is actually going on. She is not a physical being as she previously thought, she is a fragment of the broken mind of Sonya. She also realizes that she is the only one who can talk with the small piece of Sonya that is still holding on to reality, the “soul” of Sonya. Hamlet admonishes Serena to not take existing for granted because there are thousands of things that never get the chance to exist. In the conclusion of the story, Serena finally reaches deep into the recesses of Sonya’s mind to find the answer to the major dramatic question of the play. What was that horrible and strong force that broke Sonya? A video segment made by Justin Snyder brings the story full circle when the audience realizes that Sonya is actually laying in a hospital bed. She was in the car with her husband and little boy, reading Peter Pan to him, when they were in a severe car accident. The father and boy did not survive. At the very end Sonya makes a choice. Does she chose reality even though it is painful or does she choose insanity? Although this puzzled the audience, the greater conclusion is that there is a choice. The question for the audience was simply, “What choice will you make?”


The nuances within the script, the “breadcrumbs,” as one of BJU’s Theater Arts teachers so frequently words it, were so well-laid throughout the script. It was chaotic and comical and seemingly disjointed at first, but we as audience members just couldn’t see the whole picture until the end, and when we did see it, it was beautiful. For the first twenty minutes of the production it seemed so complex, and I questioned how it would be resolved in such a way that delivers a clear message. But my confidence in Micah had not been shaken! At the conclusion of the play I thought, “wow, it is such a complex story, yet such a simple message.” A question that arises at the end, after we learn what really happened to Sonya is, “Is ‘time’ a healer of our pain?” And Serena’s last statement is that sometimes “time” only makes things worse. It clearly left the audience with two options, either run from your problems or face them. This was a story that I thoroughly enjoyed and was provoked to further evaluate my own questions and answers.


The space was beautiful. It was comfortable and spacious while maintaining a fairly intimate feel for a proscenium stage. The set was laid out in such a way that created levels and diversity; it wasn’t linear. It was simplistic but also visually stimulating. However, due to the lack of incline, from my vantage point anything below the knee was unable to be seen. There were two projector scenes on either side of the stage which made viewing the media very easy. Although there were a few small technical problems such as microphone noises as well as pixilation in the media, neither of these impeded my experience, nor did it remove me from the world that was being developed before me. I thought their set, use of space, and media enhanced their performance and was professionally done.

Having seven completely different characters to portray and only two people to do it is quite a challenge and Katrina and Lindsay rose to that challenge and were met with great success. As an actor myself, I watched for physical distinctions, listened to vocal quality and pitch variations, rhythm of speech, as well as personality. Both ladies did a wonderful job at masterfully differentiating between all seven characters. Never was I confused or questioned who was talking. The pacing was never slow. I remained fully engaged throughout the performance. Their cues weren’t dropped or their speech mumbly. They demonstrated excellent character work, and the result was quite an impressive accomplishment. 


Overall, this production was so well-prepared and well-performed. I loved both the story and the message behind the story. I could appreciate it on a personal level as could essentially all audience members to some degree. I hope you will not only consider what choice to make in the face of pain or whether “time” truly does bring healing, but rather ask yourself who is the true Healer of my pain.


If you were able to catch this spectacular performance then I hope this article has echoed some of the thoughts you had as you left. If you weren’t able to be a part of the audience then I hope you are wishing you had! Perhaps Dreams of Sonya will be performed again in the future. Be sure not to miss it!


Bio_Shots-5By Jessica Bowers

Photos by Matt JonesBio_Shots-7

Dreams Of Sonya

In Interviews and Previews on April 17, 2013 at 6:40 pm

A Word with the Artists


Dreams of Sonya, coming to the Kroc Center in Greenville, SC on the 19th and 20th of April, was written by Micah Thompson, a former graduate student from Bob Jones University. Dreams of Sonya will be performed by two current graduate students, Katrina Case and Lindsay Morgan.

Actress, Lindsay Morgan

Actress, Lindsay Morgan

When asked what the vision for the production was, Katrina replied, “I really want audience members to come thinking of it as a psychological puzzle. It’s not the type of play that is laid out simply; it is very complex.” Lindsay said, “We really wanted something that would challenge us in the acting department.” Dreams of Sonya presents a cast of seven characters being played by only Katrina and Lindsay. Wanting to have that challenge and lacking material to perform gave them the motivation to approach Micah about a script. They have faced many challenges at the start of and through the duration of this process. The greatest challenge was “finding a rehearsal space, and next to that are the technical elements. There are a lot,” says Katrina. Lindsay remarked, “Ninety percent of the efforts up until this point have just been getting it to happen.” There were a lot of details such as budgeting, booking a performance venue, and marketing which factored into the preparation for this production. By and large, Katrina and Lindsay have had to go through the process by trial and error.

Actress, Katrina Case

Actress, Katrina Case

Each story has a message. Each story-teller has a motivation or a goal for telling that story, however simple or complex it may be. Katrina states, “I want to present an entertaining story and entertaining characters. And at the end of it I want the audience to have an ‘Aha!’ moment, thinking ‘That’s what’s going on with Sonya.’” Lindsay shares both a personal and audience goal for her message in Dreams of Sonya. “My goal for myself was to just get further outside [of] my comfort zone. I wanted characters that I necessarily didn’t align with or normally get cast in, as in, they’re not my type. For the audience, since I didn’t really know what the script was going to be when we commissioned it, it was almost just more trusting the playwright, knowing that Micah can make a beautiful point out of something while making the audience laugh. Making them [the audience] think is great, but I didn’t want to necessarily subject them to a ton of philosophy, but with Micah’s humor I wanted them to be able to laugh as well.”

Playwright, Micah Thompson

Playwright, Micah Thompson (photo credit, Laura Kirsop)

What is the message? What will the audience carry away from Dreams of Sonya? Katrina sums it up in three simple words: “Face your problems.” In a few more words Lindsay says, “I want them to walk away with ‘I wouldn’t want to make that decision.’ I don’t necessarily want them to, in the end, side with the title character.”


So, this weekend is fast approaching. What will you be doing? Hopefully you will be able to purchase a ticket for Dreams of Sonya, and enjoy a fun and thought-provoking evening of theatre. If you would like to view Dreams of Sonya’s video teaser, you can check it out on their facebook page – just search for “Dreams of Sonya,” or you can make your way to their website, Remember – snag a ticket while you can! They may be purchased through Programs & Productions at Bob Jones University (just call 864.770.1372), or through See you there!

Bio_Shots-5By Jessica Bowers

Dark Waltz

In Performance Reviews on March 5, 2013 at 3:08 pm

A Look into Kaitlin Chisholm’s Interpretation of               “A Good Man is Hard to Find.”

The unsuspecting audience member might chuckle through the first half of Kaitlin Chisholm’s senior recital, lulled by its musical introduction (played liltingly on an onstage piano) and its good-natured humor. By the end of the hour, however, Miss Chisholm masterfully carried the audience to the brutal but powerful ending of what recital coach Mr. Radford called “not a feel-good story at all.”

Kaitlin Chisholm actress/performing artist

Kaitlin Chisholm actress/performing artist

“A Good Man is Hard to Find,” a short story written by Flannery O’Connor in the 1950’s, is a startling tale that delves into the depths of human depravity. The story recounts the events of a family vacation to Florida through the perspective of the grandmother. The grandmother, both a sympathetic and a despicable character, serves as a commentary on self-righteous people. Miss Chisholm’s portrayal made it clear that this character was not to be respected, even though what the grandmother wanted most was respect. It is her fixation on the supposed refinements of her past that lead to her family’s demise when she insists on going down an abandoned road to find an old house. It is this diversion that leads the family into the path of a disturbingly “normal” psychopathic killer, who systematically slaughters the whole family, even the grandmother—who is, in fact, his own mother.

a disturbingly “normal” psychopathic killer

a disturbingly “normal” psychopathic killer

Miss Chisholm’s stellar characterization defined each character precisely so that there was no confusion as to who was who. She gave every character, from the grandmother to the gasoline station owner, a distinct voice and posture. They were not characters made to be loved as much as they were made to be learned from. As far as characterization goes, Kaitlin Chisholm admits readily that the serial killer, The Misfit, was by far the hardest to portray. She wanted him to come across as a normal person; a very relatable everyman. The last thing she wanted to do was to play him up as the stereotypical villain. His scariest feature had to be his normalcy, because it “makes the evil more evil when it doesn’t seem evil.” The resulting portrayal? An empty-eyed, but unnervingly conversational and truly “normal” sort of villain.

They were not characters made to be loved

They were not characters made to be loved

Several audio and light cues added gravity and interest to the telling. The set consisted of five brightly colored folding chairs arranged in front of a well-worn piano, its front panel removed to leave the hammers exposed. The chairs were rearranged from mimicking car seating to seats at a restaurant and then back to car seating as the story progressed. It became clear that the chairs represented the characters in the story. Kaitlin Chisholm occupied the middle back seat, indicating the grandmother’s place in the car, and referred to the other characters as sitting in the other seats, one per character. She showed the family’s car crashing by knocking over the chairs under blood-red lighting, with only the father’s chair remaining upright as he was the only one not displaced during the crash. As each character died at the hands of The Misfit’s henchman, she placed their collapsed folding chairs into a square bracket of light on the floor. She accompanied the grandmother’s death with a mournful rendition of “The Tennessee Waltz,” exploring the effectiveness of “music not making sense with what happens.” The effect was every bit as chilling as she had hoped.

The effect was every bit as chilling as she had hoped.

The effect was every bit as chilling as she had hoped.

The question burning in the audience’s mind was this: “Why this story?” Miss Chisholm was struck by the story’s gruesome, but accurate portrayal of evil. She wanted her audience to leave Performance Hall with the message that Flannery O’Connor set out to communicate: that we all are innately evil, and without the grace of God, a good man would not just be hard, but impossible to find.  

By Emma GallowayIMG_8607

The Trouble I’ve Seen

In Performance Reviews on February 27, 2013 at 8:12 pm

A Conversation with Meg Jones

          As the lights dimmed in Stratton Hall this past Monday, eager audience members looked toward the stage, waiting for the recital to begin. Much to their surprise, the opening lines were delivered from the back of the theater, sung in a deep and haunting contralto:

Nobody knows the trouble I’ve seen

Nobody knows my sorrow.

            Meg Jones came down the theater aisle in a meditative march, at last ascending the stage before stopping her song and taking the audience on a journey through the nature of human suffering.

Meg Jones: actress / performing artist

Meg Jones: actress / performing artist

            Meg Jones’s senior recital, The Trouble I’ve Seen, interlocks the stories of Job and three characters from the book Witness by Karen Hesse. Meg begins with the first chapter of Job, giving the scriptural account of Job’s incredible loss. Then she takes the audience center stage, where she portrays the interaction of three characters during the terrors brought by the Ku Klux Klan in 1924: Leanora Sutter, an African American girl; Esther Hirsh, a Jewish girl; and Sara Chickering, the woman who offered them both shelter from the Klan. All three experience the pain connected with racial discrimination and violent death. Meg Jones’s recital was no merely entertaining romp, but a deep-delving exploration of faith in the face of extreme suffering.

            I had the remarkable opportunity to interview Meg and ask her a few questions about how her recital came into being. When asked where she got the idea to do a recital centered around the theme of trouble, she said, “I want to do something that has to do with people’s perspective of what suffering is. It morphed from people looking from the outside to the inside and putting…ratings on people’s suffering…and after that I had, like, windows of different people and just different levels of suffering.” The “window” idea came after her coach, Anne Nolan, asked her to find a vehicle (a common thread) that would carry the theme across. Meg was leaving her dorm when she looked out a window in her stairwell, and had the idea to have every character “have a window, and the audience could see through their window…and they saw their suffering…some people’s windows are shattered and old and tattered while other people’s are colorful and beautiful on the outside and there’s dust and stuff on the inside.”

"The Trouble I've Seen"

“The Trouble I’ve Seen”

          While she started with having five separate stories in her recital, including an original composition and cuttings from The Hiding Place, she finally settled on just a cutting from The Witness and cuttings from Job.

          Meg Jones navigated the gripping tale with a commanding storytelling style, embracing both the narration and characterization with practiced precision. She transitioned gracefully from one character to the next, taking a meditative pace through the turns of the story. Her characterizations were nearly flawless: Leanora was sassy and cynical, Esther was innocent and cherubic, and Sara provided a stark adult perspective on the unfolding events. While Meg said that adopting Leanora and Sara came easily, performing Esther, with her muddled syntax and unique accent, was another story altogether.

          “At first I didn’t like her,” she told me, chuckling. “I liked her as a character; I just didn’t like performing her. She was just so hard for me at first. I don’t just have to act like a six-year old, but I have to act like a Jewish six-year old with an accent….I had to listen to some things on YouTube or just different people speaking Yiddish…as their home language, but they’re speaking in English and I wanted that accent of her—but I had to make it a little less mature that the grown-ups sounded….it was hard getting into that, but after a while, it became more natural to be her and then I didn’t hate it as much anymore. She was the most difficult to memorize because of the syntax….But in the end, she was the most enjoyable to perform.”

Senior Project for Performance Studies Degree

Senior Project for Performance Studies Degree

          The recital was not fast-paced, which may have disappointed a few audience members. However, a slow pace was absolutely necessary in order to stay true to the lyricism of the text and the heaviness of the material. The slower pace allowed the audience time to think about the ideas flowing through the narrative and to grasp the depth of what Meg hoped to communicate.

          “I wanted other people to see what our reactions are to other people’s suffering or our own suffering and I wanted them to see it through very real situations….I wanted them to see that even a child can see that the emotions you feel when you’re going through something like that are all human reactions…and knowing that although I’m going through this situation, it sums back up to God, that he is still there—and nobody knows the trouble I’ve seen, nobody knows but Jesus.”

by Emma GallowayIMG_8607

The Lion, The Witch, and The Wardrobe: A Review

In Play Reviews on February 13, 2013 at 6:30 pm

Cast Brings Magic of C.S. Lewis’ Narnia to BJU

Many classic memorabilia of childhood fantasy rings true with all audiences and C.S. Lewis’ beloved story, The Chronicles of Narnia. The Lion, The Witch and The Wardrobe, is one such classic which is remembered through the images of a lamppost, a wardrobe, talking animals, and child heroes led by a mighty lion.

The production of The Lion, The Witch and The Wardrobe at Performance Hall from February 11-16th, directed by Callie Summer, brings that classic magic to its audience. The show highlights the journey of the four Pevensie children, Peter, Susan, Edmund and Lucy (played by Matt Jones, Kaitlyn Chisholm, Patrick Beam and Elisa Chodan respectively), and their adventure through a wardrobe into a fantasy world that is in a heap of snow and of trouble with the evil Queen Jadis, aka The White Witch (Jill Iles). The Pevensies meet many delightful characters along the way and eventually they bow before the Great Lion Aslan (Caid Ferguson). Ultimately, the Witch is defeated and peace is restored to Narnia. The Pevensies return back to “Spare Oom” and are forever changed by their great adventure.

Patrick Beam as 'Edmund'
                    Patrick beam as ‘Edmond’

This quick summary partly characterizes the nature of the production. While the show is mostly classic and very entertaining, it is sometimes difficult to keep up with each scene as the characters rapidly moved from place to place in the story. The pacing is heavily based off of the adaption, which certainly had its weaknesses, but it does maintain high energy and excitement as we travel through Narnia.

The production smashingly delivers some favorite moments from the classic tale such as Lucy’s tea with Tumnus (Justin Snyder) and his beautiful flute song, the Witch’s seducing Edmund under her spell with Turkish Delight, and dinner at the Beavers’ dam.

Probably the most dramatic scene of the show is Aslan’s death at the Stone Table. With Broadway-esque flare, the Witch’s minions crawl out of the darkness. And by their colorful dancing, screeching, and howling (all in black lighting) they create a frightening yet fantastical space where we hate the evil but love the spectacle. Bravo to designers for how that moment is executed (no pun intended).

IMG_8379 (1)

Many of the characters give notable performances such as Tumnus, who has a lovely Scot-Irish accent and likeable persona, Mr. and Mrs. Beaver (Colton Beach and Lindsay Morgan) who humor the audience with his Englishman quirks and her flurrying about, and the White Witch who rules with her menace and beauty. Audience goers should expect more of an ensemble performance with the four Pevensie’s instead of individual ones. While each Pevensie has strong character moments, because of the rapid pacing, we mostly see them all together. Edmund has a bit more stage time with the White Witch and he delivers a solid performance of the annoying younger brother. Lucy also warms hearts with her sweet spirit and tender scenes with Tumnus and Aslan.

The set, like the play, is easily moved and fluid. Pieces are turned around, carried in and swept away by Wood Nymphs that dance and sway in between scenes (look for when they also double as stone statues!). The production is highly stylized especially through the costumes of the animal characters. Instead of full-blown reality, we are given glimpses of creatures represented by human actors.

Jill Iles as 'The White Witch'
                    Jill Iles as ‘The White Witch’

A special highlight for the production is the original music, composed by Caleb B. French and Ben Schaaf. It is a capturing element that soars throughout the show. The album is available for purchase online.

Purists might be disappointed by some textual changes from the book such as the Pevensies are crowned at the Beruna battlefield instead of at Cair Paravel and Father Christmas comes to the Beavers’ dam instead of meeting them on their journey.

Overall, the magic comes alive through the production and the audience can expect to see a Narnia they know with a few new interpretations and a quicker trip than usual.

DSC_0252By Meagan Ingersoll

The Green Room Project

In Mission on January 23, 2013 at 2:52 pm

Theatre is collaboration. Any one person who attempts to go into or study this craft of their own ability and skill with no regard for those artists who will inevitably surround them will fail. This is a field of artistic creation which, at its crux, relies entirely upon the shoulders of collaborative individuals who humbly throw themselves into a craft at the mercy of those artists who are committed to helping that craft succeed.

As such, it is imperative that we understand one another. We must passionately seek the humble ability to learn from those around us in order to foster original, authentic creation in the hearts and minds of our colleagues, as well as in ourselves. This requires an ear that is quick to listen. This requires a tongue that is taught to speak boldly, yet meek to speak in respectful love. This requires the capacity for acceptance, and pliability. This requires the capacity for taking risks and accepting consequences. This requires the capacity for trust.

Do not allow these to daunt you, but rather inspire you to a deeper understanding of the humility you will need to succeed in the Theatre arts. By far, some of the most rewarding experiences and opportunities of your life lie in this field. The purpose of this collaborative community of artists is to foster growth by sharing those experiences with each other. Let us collectively be inspired by those things so great a God has gifted us to make for Him.